Rosa Dias

A cinematographic essay, without dialogues, about the months Nietszche spent in Turin, Italy, with narration quoted by his original writings.

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"They are combinations of fragments. There are no stories, it is possible to mount these fragments in many ways. »Cine-eye or cine-voice-eye. The text of the Galaxies goes straight to the image. »A text rewritten for the eye» (H. de Campos). A short film that is more than experimental and that is based on a dark aesthetic that takes from the work of poet Haroldo de Campos its "dark matter" to combine it with the filmmaker's rarefied images and the puppet-like markings of actresses Bete Coelho and Mariana de Moraes.

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A 1972 Portuguese language drama/adventure film written and directed by Júlio Bressane, starring Rosa Dias and Elyseu Visconti.

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A silent film shot in New York in 1972, including scenes in Hélio Oiticica’s apartment. Last film made in exile by Bressane, it mimics the experimental concept of "quasi-cinema" by Hélio Oiticica. It consists of a fragmentary experience of freedom, in super-8 and 16mm, in a code out of time, out of the square, while recreating (with different cameras) the wild and sensitive look that Oiticica dedicated to cinema. Its definitive 71-minute restored version was completed in the early 2000s.

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Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".

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A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she’s always observed by a large portion of raw meat.

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Sentimental Education centers on the unique relationship between Áurea, a lonely 40 year old teacher, and a young man she has just met by chance – one of these encounters which mythology and literature are full of. A delicate soul who finds itself attracted to a beauty that seems to demand, disturb and move her. That shakes her up entirely. During the days following their first conversation, she will expose all her feelings through classes in which he will let himself be carried away. Until an unusual episode from the past is revealed and changes everything.

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The names of the characters are pronouns. She is a teacher, with his father dead just three days ago. Faced with this situation, He intends to take care of her while He is alive. This is the beginning of an odd relationship.

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Three friends, Hilda, Matilda and Gaspar, meet in a rundown downtown apartment during a weekend to chat, drink and experience pleasure.

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A cinematographic essay, without dialogues, about the months Nietszche spent in Turin, Italy, with narration quoted by his original writings.

Open details →